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I've got an RME Fireface 800. It is possible to setup a headphone mix in either application. I found it was a bit easier for me to use the control room functionality rather than TotalMix but YMMV.

I've since bought the personal mixers from Behringer (yes- I said Behringer!) and now use 14 outputs from the Fireface to a P16-I into the P16-Ms via sends within Cubase. It works great and lets the talent adjust their own mix to their liking.

There´s a difference between Totalmix and Totalmix FX, which has some more functionality concernicg CR features. and is very good for standalone use for example. Yet Cubase control room is more advanced. And if you´re working in Cubase, using its CR is more convenient than switching between Cubase and Totalmix FX

Yeah, TotalMix FX is my control room. I use RME UFX and I don't need to use Cubase's control room, it wouldn't add any extra functionality, just extra hassle. If you have a Steinberg interface, however, you're given an interesting level of integration. In that case I would totally use Cubase's control room (also because I'd have no alternative, since TotalMix FX only works with RME products.)

Yes, I too use TotalMix and not Control Room, partly because I love the basic volume / dim integration with the interface, and partly cos I do a lot of work in Pro Tools and other DAWs as well as Cubase, which would all require different solutions otherwise. It takes a while to get your head around, but its very flexible and, for basic operation day to day, quick and easy combined with the hardware.

For up to 4 phones mixes CR + ASIO direct monitoring enabled (you have to do it in TotalMix as well as in Cubase) is extremely convenient.

If you need more than that, TotalMix offers up to 14 independent stereo mixes (think UFX even 15) - more than will ever make sense, never used more than 6.

Looking for a while myself to get myself an UFX because of TotalMix FX. Making use of the UFX' FX would mean to use TotalMix FX instead of CR or using some kind of hybrid setting like cue sends from Cubase plus your singer with a little reverb or so from the Fireface via TotalMix.

Yes, I too use TotalMix and not Control Room, partly because I love the basic volume / dim integration with the interface, and partly cos I do a lot of work in Pro Tools and other DAWs as well as Cubase, which would all require different solutions otherwise. It takes a while to get your head around, but its very flexible and, for basic operation day to day, quick and easy combined with the hardware.

Yes, TotalMix FX is not the most intuitive software ever designed, but neither is Control Room, for the record. Anyhow, both are not too hard to learn, given some time and patience. Like I said before, it all comes down to hardware integration. If you use an RME interface, Control Room basically gives you none at all, while TotalMix FX is completely integrated into your hardware. So, the choice is really an easy one.

works fine in 7.06 afaics, no different than before.that explicitly includes external triggering of Toontrack VSTitake it with a grain of salt though, I'm still using 6.5 for real work, until the 7.x workflow killers have been fixed.Jamstix 3 is in my test template however.ymmv,Rhino

I have Jamstix 3.5 and it seems to be fine, I haven't really used it at all since the upgrade to 7.5 just checked that it was working rather quickly without any detailed "inspection". I'm using the 64bit version

At 13:45 on this TotalMix FX vid https://www.youtube.com/watch?v=sCH3qVaLL-I they talk about the "Cue" button, but it is more of a complete solo button than an equivalent of the Cubase "Listen" button (the latter of course where the other tracks are not completely muted, but simply turned down some dB).

I thought the "Dim" button in the TotalMix FX Control Room might be the ticket, but apparently it only describes how much all the channels are dimmed when the Talkback Mic is active?

Can anyone point me to where I can learn about the TotalMix FX equivalent of the Cubase "Listen" button please?

Or if there's no "Listen" button equivalent on the TotalMix FX - as I really like that feature in the Cubase Control Room ... how crazy would it be to have the Cubase Control Room activated but everything disabled but "Listen", and use TotalMix FX for the rest of the control room functions?

Thanks - You can´t use totalmixFX for "the rest of the control room functions", since Totalmix FX simply doesn´t have them.

(Ah I've just seen that Thinkingcap has written, in two lines, what I have just used an entire paragraph for :P )..

Is this the full version of Cubase? (I'm not sure if the following is available in Cubase Artist/Elements)..Anyways..1) Once you have recorded your MIDI Piano Part, set the MIDI/Instrument Track from Musical Timebase to Linear Timebase (in the MIDI/Instrument track's Inspector, click on the "quarter-note" icon to change it into a "clock" icon).(This has the result that Cubase's Tempo Track can now be modified without changing what you actually hear )2) If you had the Tempo in the Transport Bar set to "Fixed", change it to "Track".3) If necessary, drag your MIDI Part, such that the first downbeat corresponds with the appropriate downbeat in Cubase's Grid (in the simplest case, that would be, align the first played note with the start of a bar.. it is in fact a good idea, generally, to let Cubase have a couple of bars "breathing space" before the music starts anyways ;) )

There are now two methods available in Cubase (like Thinkingcap said ;) ) ..(the first is maybe simpler, but the 2nd is probably more thorough, especially if the music isn't particularly rhythmic, with obvious downbeats).

Method #1..Open the Piano track's MIDI Part in the Key Editor, select the Timewarp Tool, and working through from left to right, drag the bar lines, such that they correspond with the downbeats of your music (like I said, earlier, this will change Cubase's Grid to fit the music, without changing what is actually heard ).

Method #2..4) Create a new MIDI track, routed to some percussive/metronome sound, put it into Record, and "tap" along to your recorded Piano track, playing, normally, quarter-notes, just as if you were "conducting" the music (it becomes quite easy to do this once you've gotten the hang of it, especially seeing as it was you who played the piano part in the first place. And, in any case, seeing as this "tapping" is just a regular MIDI track, you can edit it afterwards until you are satisfied that it fits your music nicely).5) Put this "tapping" track into Linear Timebase also.[EDIT] 5b) HughH has discovered a bug with the next two steps, if you have created your "tapping" from a combination of several tracks, or several Lanes on the same track.. If this is your case, then merge (glue) your tapping into a single track before proceeding! [/EDIT]6) Select the MIDI Part that contains your "tapping", and set the Left and Right Locators to its boundaries.7) Go to the MIDI Menu>Functions>"Merge Tempo from Tapping", and, in the dialog that opens, set "Tapping" to 1/4 (if that is what you had tapped ;) ), and checkmark the option "Begin at Bar Start".

That should be it ;) (You can now put your tracks back to Musical Timebase, if you wish, so you can now modify Cubase's tempo if desired, and the music will follow).

It's actually easier than it reads, especially after having done it a few times;). Good luck :).

Just to be completely exhaustive ( :oops: :) ) ..Both those methods work with recorded Audio also, provided that you also, before doing any of the above, go into the Audio Pool, and switch off "Musical Mode" for each of the Audio clips.

i was glad to do the upgrade. From 7 to 7.5 was not that expensive and you get a lot of new stuff.Groove agent 4 is awesome by the way. And actually this seems to be a very stable upgrade. Working several weeks now with it and no crashes, not one error, no issues at all... On the forum there seem to be enough people who share this view. But a big difference with the release of version 7 initially. :-)Another thing to notice: you're old installation remains so the old songs will boot up with the previous release so nothing gets impacted if you don't want to.

It might also be useful to drag the MIDI Parts (including your "tapping"), such that it starts on a Cubase bar start.. makes the job for Cubase a bit simpler . (and don't forget to put the "tapping" track into Linear Timebase too)

I usually do it this way..(lets say I want a 1 bar count-in before the start of the new tempo)..I create a MIDI track, routed to a metronome sound, and record one bar of click during the first bar of the new tempo.I then switch that MIDI track over to Linear Timebase, set Snap to "Events", then drag-copy that one bar click Part backwards, such that the end of the copied Part butts against the start of the original. (If necessary I can then delete the original, although I am more likely to want to keep it).

you can't use UAD-1 Plugs with 100% Functionality by using j-bridge. If you using uad 1 card together with j-bridge, you always can use and open only one plug in. That's it. But the good thing is, you can use uad 1 with the cubase bridge. There is no need in 64 bit cubase for j-bridge. Just put the powerd plugin dll. in steinberg vst folder and everything is good. There are absolutly no problems to use uad-1 with the cubase bridge. I have running two uad-1 cards in C6.07, 7.07 and 7.510. All is perfect.

Greets

Great to know, atarifalcon030, thanks!

Can you say - is it possible for the Cubase bridge to be active (for UAD-1) and JBridge (for other 32-bit plug-ins) to be active at the same time?

I've not used either yet ...

Absolut. Use the UAD Plugs via Cubase Bridge, and at the same time you can use other 32bit plugs via j-bridge as much as your computer can do. There is no limit. Again, you can use all at the same time.

you can't use UAD-1 Plugs with 100% Functionality by using j-bridge. If you using uad 1 card together with j-bridge, you always can use and open only one plug in. That's it. But the good thing is, you can use uad 1 with the cubase bridge. There is no need in 64 bit cubase for j-bridge. Just put the powerd plugin dll. in steinberg vst folder and everything is good. There are absolutly no problems to use uad-1 with the cubase bridge. I have running two uad-1 cards in C6.07, 7.07 and 7.510. All is perfect.

Greets

Great to know, atarifalcon030, thanks!

Can you say - is it possible for the Cubase bridge to be active (for UAD-1) and JBridge (for other 32-bit plug-ins) to be active at the same time?

I've not used either yet ...

Alexis yes that's how I run it at the moment. I use JBridge for 32 bit pluginns bridged to 64 bit and UAD1 through cubase bridge. I tried the JBridge with UAD for a couple of hours without success, so I rolled back as it was !

UAD 1 does however work in Cubase bridge but I thought I would be able to run more plugs at the same time on Jbridge bit with no success :-(

It depends on the audio interface as well. If you want to use the onboard soundcard it'll probably work using ASIO4all and a fairly high buffersize, but there's no way of knowing other than to test it.If you want to use an external audio interface that shouldn't be a problem, but if it's firewire there may be issues with the chip used in the firewire controller.

Also, check the minimum required specs for Cubase and compare it to your PC of choice. They're pretty low though so I guess most desktop PC's bought today would suffice.

Yes, all i3/i5/i7 models have at least 2 cores as far as I know. The same is true for all CPU's in AMD's current lineup.I don't think any PC currently sold has single core processors anymore, with the exception of really low end notebooks like Chromebooks etc, and even those might have dual cores these days.

I think you could save some €30,- by picking a motherboard with H87 chipset instead of Z87, if you're not getting the 4570K version it won't overclock much anyway which is mainly what the Z87 is about as far as I know.

edit: just realised that if you're getting it prebuilt from ADK you may not have an option to pick a different mobo.

I have made the (for me) difficult decision to make this my general use home computer as well I can see that. My studio PCs have always also been a general-purpose PCs ... and it hasn't been a problem to me ... just requires extra care when installing any software. But I always use wired ethernet instead of wireless, when possible (have some 100m/300ft of ethernet cables in my house). 2 reasons for this:1. Every additional hardware/driver is a possible source of problems. So why not use motherboard's ethernet connection and a cable to connect to the router.2. In the past I have had horrible DPC latency problems with numerous wireless devices. So I have decided: no single wireless device connected to my DAW, not even wireless keyboard or mouse, (unless it's DAW-specific device, like my Frotier Tranzport). Maybe this isn't a real problem in these days anymore, but I get paranoid whenever I hear the word "wireless".

I will ask them to look at dropping this for on-board graphics only. It might not be any savings to me to do so It should save you $60

I will inquire about a fanless PSU ... thank you. Should cost you extra $60 (compared to Corsair 500W)

I am not sure what you mean here: That I should look into the case PLUS some acoustic treatment? Or ... This is standard option for ADK computers ... I don't know who is your dealer, but your proposed system is obviously a standard ADK setup: http://www.adkproaudio.com/systems/viewsystem.cfm?recordid=134(under "Quieting/ Xtra cooling" there).It costs extra $100 (compared to your proposed "ADK Quiet Case fans" option)... so it's a bit expensive option, but in my opinion you can't spend too much for making your PC silent. I just built one couple of weeks ago and I'm really happy with the noise level (after spending quite a bit for that), but can't stop thinking: "I should have chosen that fanless PSU and more quiet case fans" (yes, I have acoustically treated case).

What is it that an i7 is better at ... higher track count, or is it more VSTi's? Both and maybe also possible to use lower latency setting. As seen from ADK page (see link above) you can have i7 model 4771 for extra $112. To compare performance difference between 4570 & 4771 see:http://www.cpubenchmark.net/high_end_cpus.htmlIn my opinion the difference is significant and well worth the extra money.

I have a feeling they won't be able to do anything but OEM, but I can always ask! Looks like they have an option of W7 Home Premium (non-OEM) instead of W7 Pro OEM ... and it's even $35 cheaper ... but you have to consider what you loose when having "Home" instead of "Pro". For me it looks like the only significant difference on DAW usage is the "Home" only supporths 16G of RAM memory.

The RevX has nothing to do with the FX position. The built-in HW DSP RevX is only for the monitor signal i.e. cannot be recorded (you have plugin RevX for track processing). Which mix is to be "hardwired" can be switched in the control panel.Reverb can be rather demanding of processor power, so having this integrated in the DSP of the interface specifically for e.g. the artists monitor is very handy.

Without going into the variations, and leaving the definition of what constitutes a "comfort verb" between you and your artist, I'll give a simple example as I usually use it.

For various reasons I use Mix 1 for my artist Cue (my cue sends in the mixer are routed to mix 1 in the Control room mixer. Also to be clear, I use mono inputs for the mics (although that's really neither here nor there).

In the UR Hardware Setup Window (I have this mapped to a Keycommand for convenience) on the reverb Routing tab, set the routing select to Mix 1L/R and set up the reverb according to your taste (Type, Time, Return level etc.)

The Phones 1 are hardwired to mix 1, so these automatically become the artist Phones - turn them up on the UR.Adjust the amount of signal to send to the Reverb on the Hardware rack in the Cubase mixer console (bottom control).

I've not transferred any plugs from a UAD1 card as i've never had one but i do have a UAD2 quad and solo in my machine and they both perform wonderfully!

You can transfer your plugins from your UAD1 card to your UAD2 solo from your UA account and they should work just fine!.... unless you have Nigel of course which the UAD2 is unable to run... pertinent question on UA forum... http://uadforum.com/master-class/15881-did-they-change-sound-emt-plate-140-fairchild-between-uad-1-uad-2-a.html

and YES they're ALL available in 64Bit flavour too ;)although as far as i'm aware there's a bug with the Ampex/cubase which UA are aware of......

If you're running the spec in your signature then why not just use the 32bit versions?i think it's possible to use the 64bit versions in cubase 32bit if you bridge them but i'm on a totally 64bit system so i'm not too sure...

if you're running a fully 64bit system then just use the 64bit UAD plugs.... unless of course you have nigel..... hth

The legacy versions you mention ALL come with 64Bit versions so if you transfer your plugs to your new account you should get the 64bit versions by default..... you've paid for the plugins already so as far as i'm aware you SHOULD be able to use them with the UAD2... the updated versions of the plugins you mention are completely different versions, i think you're getting the wrong end of the stick possibly here..... i have the original UAD fairchild which runs on both the uad1 and uad2 platforms and that comes in 32 and 64bit flavours...... as do ALL UAD2 plugins... so..... if you install BOTH cards in your current machine and assign them both to the same system in your UA account now or before you put it in your new rig, when you transfer the UAD2 to your new machine you'll be golden innit!!!! ;)

- replace your HD with an SSD- move to 64bit (W7, Cubase, plugins)- say goodbye to any plugins that cause crashes- use a wireless keyboard with key commands for recording (arm, rec, play/pause, go left, undo) so you have kind of remote control

Key commands have been mentioned already. If you have trouble remembering them, invent some system and make them somewhat failsafe. For example, my first level key commands are all non-destructive (mainly zoom an transport functions), so I won't accidentally delete an entire project by just hitting the wrong key. Shift is mainly for audio functions (like gain, pitch), and CTRL will mostly open editors. I always try to associate a word with the letter of the key, so it's not so hard to remember. Maybe not your preferred way, but I think you get the picture...

Unfortunately I have different resolutions/sizes on my screens, so that's why I haven't been able to try it that way. Even that works. Use the bigger screen as #1, drag open the Cubase window over both screens starting from #1.This will leave you with a bit of "uncharted territory" at the bottom of #2 if you have aligned them at the top.Now set up your child windows so that they don't use that area, save as workspace, done. 8-) Not perfectly elegant, but I've been doing this once for over a year, before I caved in and bought another screen matching the bigger one. Nowadays I only upgrade the main screens as a pair.cheers,Rhino

I don't have C7 myself but I have read several reports that there is a new control on the track which allows you to enable/disable some extra delay compensation for the track.

I have read that it works, but I have not experienced this first hand. I am using the C7.5.1 Trial and I can report that I was recording some MIDI playing and, even with the latency set pretty high, it still recorded the notes pretty accurately (within human error, IMO). On Cubase 6.5, I used to have to set the latency much lower to get an accurate MIDI recording.J.L.

One of the things I really want to learn in Cubase is how to combine one audio track with another so that I can jump in and out of good takes and end up with one, master, good take from, say, 4 or 5 takes.

I think you're talking about comping here. Here's one of the many videos which you might like:

Wha? I don't need a USB driver to connect my iPad or iPhone to my DAW.

Also, reading my other posts, I forgot to update my info. I DO NOT use an ad hoc network any longer. It was too much trouble connecting things. So, since my DAW is has a wifi connection, I simply use it. I have all programs setup to NOT update - and not connect automatically to anything - and this seems to work fine for me. True, while I record my computer is technically 'on line' but it is not actually on line, just on the home network. Which is where the SKI remote and iC Pro finds my DAW. It works great.

Use shortcut F8 (if you don´t use video much) for Control room mixer. Look at loudness meter, short term when using plugins like compressors etc. Ensure that db is the same. Most plugin raise volume. Do this as a habit.F8 and the new Control Room is great! You dont have to open the mixer all the time this way. :-)

If you perform a live recording on a VST instrument, you usually compensate the latency of the audio card by playing earlier. In consequence, the timestamps are recorded too early. If you activate the “ASIO Latency Compensation” button on the track list, all recorded events are moved by the current Latency setting.

The dspMixFx app has no influence on Cubase. I am fairly certain your problem was caused because the ASIO driver was not selected in Cubase which could have been caused by the UR28M not being turned on when Cubase was started or being turned off and back on while Cubase was running. This is important other wise if the unit is turned on after Cubase starts, you will have to re-select it in the control panel (and possibly need to remap it in vst connections) but the hardware racks may not be visible in the mixer.To ensure you're set up correctly, turn the UR28M on prior to starting up Cubase.In Cubase Device Setup go to VST Audio system and select the Yamaha Steinberg USB ASIO driver in the ASIO Driver pull down.There will now be further choice for the Yamaha Steinberg USB ASIO under VST Audio System in the left pane. Click on this and you will be presented with all the ins and outs of the unit (most should be Active except possibly the S/PDIF ins and DAW outs). At the top of the right panel you will see Control Panel in which you can set your buffer size and sample rate.After closing the Device Setup window, select Audio Harware setup from the Devices menu and you will see the window shown in the documentation in which you can make various HW adjustments.Next step would be to open the VST Connections window and select or control the inputs and outputs.Finally, in the mixer, ensure that racks are selected in the layout, that input channels are selected in channel types, and then hardware selected in Racks.At the bottom of the hardware graphic in the rack you will see a headphone symbol and a bargraph. Clicking on either of these also opens the UR28M Hardware setup with the headphone select tab or reverb tab selected respectively.Hope this helps.

So if I want to hook up a mono analog external fx unit can I use one of the 4 outputs on B and C while still monitoring the main mix output on A? I'm trying to do this but not sure how.

Yes. This will require you to set the unit into independent mode, sync or bind the sources (mix 1-3) to the outputs, and of course route the track to the specific mix L or R. You will also probably want to disengage link when setting independent mode in this case.Binding the source to the outputs sounds complicated to explain but actually easy to do - when you're in independent mode, press output A then select mix 1, now press output B and select mix 2, finally press output C and select mix 3. From this point on use only the output selectors - do not touch the mix select button! You will see that as you switch between outputs, the correponding source will automatically switch between mixes. After this operation, the mix 1 pair are 'hardwired' (bound) to the output A pair, the mix 2 pair are 'hardwired' to the output B pair and similarly mix 3 to C.You can now for example connect your monitors to outputs A(L/R) and your device to B(L). In the DAW route your tracks generally to the mix 1 bus and the track(s) being used as sends to your external device to mix 2 (L).

Alexis: This now confirmed bug only affects those external devices defined in the "MIDI Device Manager" for which an automation track has been created for it. It absolutely doesn't make any difference what device(s) you are connecting. If you are only using the Motif as an input controller, you're not likely to encounter this, unless you want to automate it's setup (For example having it's "local control" automatically switch to "off" for computer, rather than live use). Closing and reopening a project won't help with this. The device will remain "Not Connected" until you go into the "MIDI Device Manager" and manually re-connect the output.

For me this was a complete showstopper, because I use templates with folders of automation tracks in place for most of my couple dozen external devices. This had the effect of essentially disconnecting my entire MIDI system every-time I wanted to open or start a project. Reconnecting all of these Devices every time is ridiculous!

I have no choice but to retreat back to 7.5.1 where this is not an issue. I still have the installer and I hope it works this way. I've been a Cubase user since it's inception in 1989 and this is the very first time I've had to "downgrade". I'll have to stay "downgraded" until this is fixed.

So long as you don't specifically create a "MIDI Device automation" track for the Motif (or any other device), you won't encounter this bug. This is a different type of track that can only be created by selecting the Motif in the MIDI Device Manager, clicking on "Open Device", and then activating the "write" button within the newly opened Device window. So those are the actions to avoid. The actual MIDI track you use for playing the Motif turns out to be unrelated to this particular issue. This issue is brand new to 7.5.2. If you upgrade to 7.5.0 or 7.5.1 instead you will not run into this at all (although maybe others :-)

Well, I have a macro for this, though I know this will not be everyone's cup of tea because it requires some setup, and will be quite limited compared to actual shuttle/scrub controls for multi-channel midi.

This is helpful to me, and I only post this to share something that might not be obvious. While it's a bit of a hassle to create, once done you have a way to switch tempos without the cursor jumping to a different bar:

Add tempo track and set to your actual tempo.Create a new track version for the tempo track and set that to another tempo (I used half..)

You're probably concerned that the Control room as well as the UR28M both handle some of the same functions - mono, mute, dim etc. The HW controls are independent from the SW controls so actually you can use either - whichever is handiest or appropriate at the moment. (using both together is possible but not especially useful ;) )

I usually recommend users to use Mix 1 for the primary Artist Mix. The main reason for this is that a number of things are automatically wired to Mix 1 by default (and can't be altered). E.g. the Phones 1 are hardwired to Mix 1 whereas the Phones 2 can be switched between all mixes - it follows therefore that phones 2 should be the engineers phones, leaving the phones 1 relegated to the artist cue ergo, mix 1. The 2TR Input is also hardwired to mix 1, making this an ideal Talkback if necessary, without sacrificing a proper input (note this function is then completely independent of the talkback function in the CR - which would typically not be used - set up) this in addition to it's usual function.

Most important - get it clear in your mind that the mixes and the outputs are two different things and not to be confused. Once you've got that firmly implanted, the rest will fall into place.

The "trim" control to which you refer is actually a variable "gain" control. For a particularly hot signal, use the pad control to reduce the input level by 26dB. See the manual Pg. 7-8.Furthermore, Mix 1 is hardwired to Phones 1, so to decrease the input in the phones, lower the channel 1 fader for mix 1.

The Rev-X is monitor only! Only the channel strip and amp effects are controlled by the insert position. For recording with Rev-X, a 'plugin' has been included, the built-in DSP reverb cannot (normally) be recorded.Refer to the block diagrams toward the end of the manual.

Can anyone confirm please - I'm not getting a change in levels through the headphones when I punch the hardware UR28M "Mute" button - does anyone else see that? And similarly - the knob "Output Level" doesn't affect headphone levels?Thanks! All the above is normal behaviour. ;) The mute and volume only affects the monitor outputs, the headphones have their own controls.

Typical scenario:You're recording an artist in your project studio. You have their cue feeding mix 1 for them to listen on headphone 1. You are perhaps listening to the full mix on mix 2 or 3, and have this routed to Phones 2. You adjust the phones levels independently (for your artist and yourself) and mute the main speakers so they don't bleed into the mic.

You will still be able to record multiple takes over the top of each other. You can select which take is to the front by selecting the event and hitting the down arrow that appears and selecting which take.

For me, some of the best tips are keyboard shortcut or modifier keys and are not really hidden but I'll post them anyways:

-Hold shift + Ctrl, left click and drag up or down on midi event(s) to change their velocities-Hold Ctrl while resising an event (when snap to grid is enabled) to bypass the snap to grid and resise freely (same thing for moving an event)-This is simple but a lot of people don't know about this, use Grid Relative in the snap to grid panel if you want to move events but keep their starting position.-when using the Range selection tool, hold Ctrl + Shift to select all tracks -there's a command called select cursor to end, so if you assign this to a keyboard shortcut and also assign one to split at cursor, you can easily split all files and the select all on the right side of the split to move them -if you want to delete a section but you want all event after to move where the deleted section is while keeping everything on the grid use the range selection tool while snap to grid is enabled, use the ctrl + shift modifier I talked about to select the part you want to delete (let's say you delete 2 bars), then go to the snap type in the snap to grid panel and change it to shuffle, then press delete. the 2 bars are gone and all event after moved to the left automatically. Don't forget to change the snap type again after tho ;)-Variaudio shortcuts: press tab to switch between segment and pitch modes, hold ctrl while moving a note to put it perfectly on the pitch, hold shift while moving a note to move it freely-In mixconsole, alt double click on sends to make the send plugin show up-Add a Key command to Find track/Channel (in my case it's F) so when I press F I can start typing the name of a track and it will select it ... this is really usefull to find tracks easily in big sessions

I could go on like this but I don't want to clutter the forum ;) I hope this will help some of you

You must also register your UR28M's serial number in your MySteinberg account. This will qualify you for the Cubase AI7 activation code inside your MySteinberg account and provide you with the 25 digit download access code and the 32 character activation code. If you have registered the hardware and already and downloaded AI7 but do not see the 32 character activation code, I would advise submitting a support request under MySupport in your MySteinberg account. In the support request please include your username and provide your serial number for the UR28M. From there a support agent can provide you with the needed information to update your license to Cubase AI7.

The Synths don't require a lot of space, but you should be able to take the Plugin folders and Sample folders (which may use a lot of space) and remove/backup these to an ext. drive, emptying the same folders on your program drive.

In terms of "resources" other than drivespace, I don't think you're really saving all that much - I wouldn't bother

I'm new to Cubase and wasn't around for 6.5. However, it occurs to me that Cubase 7 (or 7.5) may have appropriated the Alt key for it's own purpose (but did not in 6.5) thus leaving it unavailable for Windows to use in it's standard fashion. There are a great number of keyboard shortcuts (not to mention mouse actions) that use Ctrl, Shift and Alt, so that would be my bet.

I would like 1 of those Avant-tones to focus on the mid range in mono , but they only come in pairs.

From what I've read, they are great at the mid range stuff because they don't have a cross-over. And what limited bass response they have is very accurate because they are non-ported (so there is no "waterfall" resonance distortion).

I'm not sure where you're based, but here in the UK KMR sell them as separate units... is where i got mine from...

As far as sending system sounds to wherever you want, that is in the dsp software, go to the main dsp page and click the"gear" button next to the i at the top. Then in the output routing settings, whichever output you want the system sounds to go through, set that to mix 1/2 , (I have a feeling that that IS fixed but haven't been into it) you'll have to set the others to something else otherwise it'll come out of all the outputs set to mix 1/2, it is a bit backwards but it works so,,,,,,

I'm afraid I never noticed any such files - if everything seems to work after installation, I generally don't go hunting for problems, so I probably never saw any even if they exist.If I get a chance, I'll have a look later.

Alternate Mode is by far the more commonly used mode, typically allowing you to play your selected Mix on any of three monitor pairs (or other devices)Independent mode is usually used for multichannel outputs - typically 5.1 surround in which the three mixes can be sent simultaneously and seperately to the outputs. It can also be used for more involved mixing, especially mixing OTB and when using many external effects.The following link will explain how it is set up . it is perhaps not so obvious.http://www.steinberg.net/forums/viewtopic.php?f=157&t=18939&hilit=+UR28M#p259234

Just a further note Regarding the Independent Mode, a given mix can be associated - i.e. bound to any or all outputs simultaneously; a given output however can only be associated with a single mix at a time.

I see they use instrument tracks to do that. I was not able to figure it out using the old-fashioned instrument racks. True its only valid from new instrument track present in C7.5 , the instrument rack is the same as before in that matter.

the Cubase 7 manual, page 255, says the instrument tracks can only have one MIDI track at a time routed TO it ... as opposed to the racks that can have multiple ... I could see that being a big limitation on using instrument Tracks. Maybe I'll understand more as I keep reading ... true for Cubase 7 and earlier, in cubase 7.5 its new concept with Vsti track/rack and its possible to route midi tracks to instrument tracks.you will need version 7.5 if u dont have it yet for theseedit( i see in ur signature you have ver 7.5.. u just need to learn it better, its little bit confusing at first indeed :geek:

There is a setting -not in front of a machine now- which makes that the routing & panning in Nuendo is linked to the "mixer" within the hardware. If you switch it off, it won't happen anymore. So Cubase/Nuendo remote controls the mixer within the hardware. I think it's called "ADM" (ASIO Direct Monitoring) on/off. (Unless that has been taking out)

Which is (or was) a different setting than the Direct Monitoring in the device settings Direct Monitoring flag.Only when you disable "Direct Monitoring", the signal will actually pass through the software.

That was probably a very specific issue SOS were talking about and not a normal way of working. Also don't take SOS as the be all and end all of correct information.

I would suggest you'd be better off learning to sing in the traditional way,99.99999999% of singers have worked since headphones were first used (Incidentally, when the singers of the 40's and 50's first started using headphones in the studio, a lot of them had tuning problems to start with as it was a completely new experience to them, they soon got used to it though)

Either get used to singing with phones on or have the one ear on ,one ear off method some singers like. You'll get better at it the more you do, and I'm sure it wont be long before it feels completely natural.

If you get used to doing it the way you are, then you're setting yourself up for problems in the future when you work live with in ear monitors or work in other studios.

Like with anything new, it's always best to start with good practice rather than bad, you'll only have to undo the bad practice later on , and it will be a lot harder.

Before I started using a separate machine for running all my VSTi's on, I tracked with the lowest buffers I could get away with comfortably at 1st, then as the project started getting congested, I had to switch to a much a larger buffer. I can now keep everything to the minimum.

Mouse scroll wheel works well by just hovering in the middle. But also it seems to work if you click one of the buttons and then wiggle the mouse even if you first click on one of the buttons. Any use?